Hayato Nakamura × Kana Takeyama: Part 2 "Living with Japan's Traditional Culture: A Wakamon Perspective on Kabuki"

Following the previous installment, WAKAMON member Kana Takeyama interviewed kabuki actor Hayato Nakamura. Nakamura combines a strong will to preserve traditional culture with a distinctly youthful sensibility. The conversation even touched on recent "globalization"...? This interview, packed with episodes that will make you want to learn about kabuki right now, finally continues in the second part.

Modern Media and the World of Kabuki

Takeyama: I think for young people today, kabuki has this image of being something "special." But there are kabuki actors who appear in media like TV dramas and movies and gain attention, right? I feel like this creates a flow where people become interested in kabuki from that, and new fans are born. How is it actually?

Nakamura: I definitely think that's true. But most people stick solely to kabuki without appearing in other media. Those who do appear on TV or similar platforms probably make up about 10% of all kabuki actors.

Takeyama: That's surprisingly few. As a way to introduce kabuki to younger people, what are your personal thoughts on actively appearing in other stages like TV and film, or expanding the scope of your activities?

Nakamura: I believe that's an area we need to strengthen. But actors are people who've been selected from thousands, even tens of thousands, through auditions and such. So, if we try to compete on equal footing in the same field as them, there are areas where we simply can't win. It comes down to individuality, charm, and various other factors, but I think unless you have something intensely striking, you won't survive.

Takeyama: So appearing in other media requires considerable resolve, doesn't it?

Nakamura: First, the fundamental question is whether you can make it work. If you do appear, you need that resolve and must fight. That's precisely why people clearly divide into those who "appear" in other media and those who don't. But I also think not appearing takes courage. It's about "remaining a figure from a dream," so to speak.

Takeyama: I see. From the perspective of someone watching kabuki, the stage is "non-everyday," in a sense, "a dream." Surviving solely within that realm is also a kind of resolve, isn't it?

Why don't young people watch kabuki?

Takeyama: The stories performed in kabuki feature cultures and ways of thinking that are unimaginable in modern times, right?

Nakamura: Things that were commonplace back then have become unimaginable to us now, as times, society, and politics have changed. I think that's why young people don't come to see it.

Takeyama: So it's because the sensibilities are too different?

Nakamura: Exactly. Today's media values easy-to-understand content, but kabuki is overwhelmingly harder to grasp compared to that. Recently, there are kabuki like "GOEMON" that cater to modern sensibilities, but fundamentally, they faithfully preserve plays that have been performed for hundreds of years. I feel that's also part of kabuki's charm. But if I hadn't been born into a kabuki family, I'd probably wonder, "Why are they preserving something like that?" and might not even go see a performance.

Takeyama: We call it "reasonable consumption" at Wakamon, but today's youth tend to demand clear meaning or reason for what they spend money on – like "I won't spend money without a good reason."

Nakamura: I can understand that. A first-class ticket to Kabuki costs around ¥18,000. If I didn't know Kabuki, I'd probably say, "You could go to the movies ten times for that money!" (laughs).

Takeyama: That's such a typical young person's opinion these days (laughs).

Nakamura: That's why, as actors, we're truly delighted when people come to see kabuki.

Takeyama: They're coming because they want to see it, even after overcoming that financial hurdle.

Nakamura: Exactly. But the image that it's "something only people with time and money watch" is still very strong. Kabuki used to be something accessible, like something commoners would go see with their kids and the whole family during the Edo period. Now, it's become more of a status symbol. That's fine in itself; I don't think it would have been preserved this far otherwise, and it shows how much Kabuki is respected. Plus, having people watch us helps us actors grow. That said, while I want to please our current audience, I also want young people to get to know Kabuki.

Understanding traditional culture means the international community holds no fear

Takeyama: Earlier we touched on "affordable consumption." If Hayato were to convey the benefits and value of experiencing kabuki and traditional culture to his peers, what would he say?

Nakamura: Recently, some domestic companies have adopted English as their official language, right? There are also universities where "all classes are in English." Why such an obsession with English? I think it's because they want to enter the international community. If that's the case, when they actually go abroad, wouldn't Kabuki be something they could proudly boast about as a culture Japan can be proud of?

Takeyama: Just as we Japanese are curious about foreign cultures, foreigners must be curious about Japanese culture too. Kabuki is performed overseas as well.

Nakamura: I had a friend who studied abroad, and apparently, people overseas think "Japan means 'tea ceremony, archery, and kabuki.'" They apparently assume "all Japanese people can prepare tea and understand kabuki." My friend was asked abroad, "Have you seen kabuki? Can you do kabuki?" When he answered "No, I haven't seen it and I can't do it," they were apparently really disappointed. Because of experiences like that, lots of friends around me have come to me saying, "Hayato, get me kabuki tickets."

Takeyama: Huh, I see. So it's like looking at your own culture through an overseas "Japan filter," giving you a chance to reexamine it.

Nakamura: That's why I think if you seriously want to go abroad, whether you like it or not, you should see Kabuki at least once. Kabuki performances are even used for business entertainment.

Takeyama: So, "seeing is believing," huh? Specifically, are there any performances that are easy for young people to go see?

Nakamura: I think "GOEMON" and "Roppongi Kabuki" attract many customers in their 20s. Also, the "New Year's Asakusa Kabuki" held every January at Asakusa Public Hall draws a lot of young people. The ticket prices are quite reasonable too. I'll be performing in this production in 2015.

Takeyama: What kind of plays will you be performing?

Nakamura: Seven young actors perform classical plays that our seniors do at major theaters like the Kabuki-za. It's pretty pressured, and we're desperate, wondering things like, "Will we even draw an audience?" (laughs).

Takeyama: Even if you don't know kabuki, it's okay to go just because "people your age are performing," right? Seeing your peers carrying on the tradition of kabuki up close might just spark your interest.

Nakamura: I think any reason is a good reason to start. Even if you see it young and think, "Hmm, this isn't really for me," you might think, "Maybe I'll give it another try" when you're in your 30s or 40s. The important thing is to actually see it and experience it for yourself.

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【Wakamon Profile】
Dentsu Inc. Youth Research Department (nicknamed Wakamon) is a planning team that engages with the real lives and mindsets of young people, primarily high school and university students. We explore hints to brighten and invigorate the near future, starting from their "now." By anticipating the future through their insights, we realize new businesses that foster better relationships between young people and society. Currently, 14 project members are based across our Tokyo headquarters, Kansai branch, and Chubu branch. We also share updates on the Wakamon Facebook page.